ÉCU FILM FESTIVAL, 2025
Joanne Mitchell
broken bird
Festival Screening
7 Parnassiens – Grande Salle
10, May 2025
Session 4 - 16:39
April, 23, 2025
Sybil works at an undertakers. It's a lonely job, with few perks. So she takes solace where she can.
Hi Joanne, thank you for talking with The New Current. Are you looking forward having your debut feature Broken Bird’s French Premiere at ÉCU this May?
Yes I’m really looking forward to Broken Bird’s French Premiere at ECU in May, I’ve heard really great things about the festival.
What does it mean to you to have Broken Bird in the European Dramatic Feature Category?
It’s a real honour to be within the European Dramatic Feature Category, and I’ve very excited for a French audience to watch the movie.
You premiered Broken Bird at the 25th FrightFest last year, what was that experience like?
It was incredible. It’s one thing to have your film screened at a Festival like Frightfest but it blew me away that they wanted to open their 25th Anniversary film festival with Broken Bird. I couldn’t believe it. I was honoured. And The Substance was the closing film of the festival so it seemed significant that two movies by female directors book ended this prestigious festival.
How important are festivals like ÉCU in champion and supporting independent films and filmmakers?
All festivals that care about movies and the filmmakers are super important. It’s a wonderful way to get your film out there and be visible, and of course great to meet other filmmakers and have a new audience to watch your movie. It’s always better to watch films on a big screen with a supportive audience and festival. And I feel that ECU are doing all of that. They care about the movies they screen and by the looks of the film and short film line up there are some really great projects screening, which is so exciting. I’m hoping to watch them all!
Can you tell me a little bit about how Broken Bird came about, what was the inspiration behind your screenplay?
It started off its life as a short film. I always felt there was so much more to the story and character of Sybil and I kept thinking about her, who she was, where she came from and why she did the things she did. It took a good few years to make it into a movie but I’m so pleased we did. It’s evolved a lot since the short too - I think the story arc and the added characters work within the genre, there’s many more layers now and I hope the audience can immerse themselves within Sybil’s journey.
As a write/director how essential is the creative collaboration between you and your co-writers Dominic Brunt and Tracey Sheals?
The original story for the short film was by Tracey. And when she sent me via email the story idea I thought it was definitely worth developing into a short script. For the feature it of course needed a lot of work and over the years we tried to find time to work on it. I was also trying to find funding, but things never materialised until Catalyst Studios got involved. Dominic had written a screenplay that they liked but felt it needed more development until they would commit to accepting it as part of their slate. So over about a year we worked hard again on it until Dominic had written something that we were all happy with and the movie went into production, which was incredibly exciting.
Once a film starts shooting do you allow yourself and your cast some flexibility with the text or do you like to stick to the script?
If the scripts good, I do like to keep to it if possible. The beats and rhythm are all there for a reason (especially with Dominic’s writing) and sometimes changing things to can upset that flow and also other character arcs. However if something is not quite working or sitting right with an actor I will look at it and their idea - if it’s better and works for the story and other characters, I’m happy to negotiate and then change it.
What was the hardest scene for you to write and direct?
I think one of the hardest scenes to direct was the end farewell scene in the funeral parlour with Mr Thomas and Sybil. We had a very limited amount of time to shoot it and there was barely any room to move in the space with the cameras and all the equipment. So I had to plan where the cameras were carefully and I had to block the actors in accordance. Which meant really the actors didn’t have a lot of freedom to move about or change the blocking - there wasn’t any room to negotiate with this unfortunately. And I think this was frustrating for them. But it was so important that we cover it and see and feel their emotional gear changes with the cameras and different angles in the space we had. However, this ended up being one of my favourite scenes in the movie and the acting is off the scale! For me it’s incredibly beautiful and emotional to watch.
Also the end scene that involved fire, VFX and make-up special fx. It was a long cold night shoot and we ran out of time for all the shots I wanted. When fire is involved it sucks up so much time as there is a certain amount of danger too. It was pretty stressful, but I am super pleased with the result, particularly the plate shot from fantasy to reality - the VFX team were really incredible and we got exactly what I envisioned. I think the end scene was also a difficult one to write as well - as it was the climax of the film. Everything had to be tied up but it had to be done sensitively. I can’t say anymore really for fear of spoilers!
Looking back now is there anything you would have done differently on Broken Bird?
I’m not sure. It was a very happy experience filming the movie in production. The Serbian crew were outstanding and so creatively supportive and talented. All the actors were brilliant, and I definitely struck gold with Rebecca Calder - not forgetting Sacharissa Claxton and James Fleet (all the cast in fact!). Maybe if we’d had more time, that would have been useful (we all want more time:) and I could have experimented more with my shots - but honestly I’m very happy with how it all turned out.
You have an impressive cast led by Rebecca Calder, have you always had Rebecca in mind to play Sybil?
I didn’t know Rebecca before she auditioned with a self tape for the role. I had various actresses in mind of course and we did audition a lot on tape too. But Rebecca just stood out. She had an enigmatic quality that I loved and felt perfect for the many layers of Sybil. She was an absolute joy to work with too and now a very good friend!
Where did your passion for film come from?
Since I was a little girl I’ve always loved film and story telling - I always wanted to be a part of that process but thought the only way I could be was to be an actress. I thought that was the only way in to the industry. In those days I didn’t realise women could be behind the camera (and it’s only recently really that there have been more opportunities for women to do so, which is long overdue).
I’d rather go to the cinema, stay in and watch a movie above just about anything. It’s my idea of bliss. My whole family have loved the cinema too and I think it’s an important cultural bonding.
What is it about film as a medium that interests you so much and who are the filmmakers that have inspired you?
Film is a wonderful way to tell stories and for me the horror/fantasy/sci-fi genre is a really exciting platform to tell those stories. I think you can go just about anywhere. Visually (especially now) there’s so much to experiment with. Story and character has always been super important to me and I love being taken on an immersive journey through the film medium.
Filmmakers - my goodness there’s so many - Del Torro, Hitchcock, Fincher, Friedkin, Jane Campion, Kathryn Bigelow, not forgetting the likes of Greta Gerwig, Rose Glass, Soska Sisters (the list goes on and on!)
How much does your background as an actor help inform your approach to writing and directing?
I think because I love character and story and the attention to detail to that, this is something that’s really helped me as a director. I also understand actors : their insecurities, their passion and understanding for the craft and wanting to be heard too - they are of course vital to the story. I think casting is probably one of the most important parts of making a movie alongside a strong story.
"Do your shot list even before you find your locations, then do it again when you find them. Then again with your DOP if necessary."
What has been the most valuable lessons you have taken from making Broken Bird and how will these help you with future feature projects?
I think team work is vital. Although to have a strong vision of your movie is uppermost it’s also super important to collaborate with the other creatives - your DOP, Production Designer, Costume Designer, Composer etc - they can enhance everything and sometimes have better ideas and it’s so important to listen and cooperate with them.
Preparation for me is key too. To have that strong scaffold of support in the background, but then be confident enough to change and be flexible too (as things always change every day on set).
And of course always more time! But that’s why preparation is key.
What does Broken Bird say about you and the way you see the world?
That’s a good question. I like Sybil, on many levels I understand her. Obviously she does some terrible things in the story but as a character there’s something incredibly sensitive about her. Everything is based in truth. She’s honest about who she is (to a fault perhaps) and in a way I understand her isolation and loneliness. The ‘not quite fitting in’ within the society and world around her. I see that more and more these days too - with the advancement of technology and social media. I think there’s a lot of pressure to conform (especially within the younger generation) and this can lead to feelings of inadequacy and isolation.
What has been the best advice you’ve been given by a fellow filmmaker and is there any advice you would offer a new filmmaker?
Best advice - preparation and watch as many movies of all genres to learn from!
Time is always sucked up so quickly. Do your shot list even before you find your locations, then do it again when you find them. Then again with your DOP if necessary. Be clear about your vision, but also be flexible, collaborate and be kind. Filmmaking is a challenge and can be stressful, so for me it’s so important to respect everyone on set and make it as an enjoyable experience as possible.
And finally, what is the message you would like your audiences to take from Broken Bird?
I suppose what springs to mind is judgement. It is etched into our society. And how easy it is for us all to do so. Everyone is walking their own path, and we won’t always know their story : their pain, their grief, their loneliness. I have tried to explore that with Broken Bird within the layers and themes of the story, but I’ve also wanted it to be an enjoyable exciting experience, with tones of humour. I’d like the audience to question themselves and who Sybil is after watching the film.